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The Day I Was Taken by Pirates and Made to Dance a Jig
Cultural Studies <-> Critical Methodologies ( IF 0.683 ) Pub Date : 2020-12-09 , DOI: 10.1177/1532708620978747
Brian Rusted 1
Affiliation  

Employing sensory, visual, and poetic modes of inquiry, this piece explores relationships between pirate lore of Newfoundland, settler colonialism, and embodied experience. Situated in coastal communities known in history and folklore for harboring pirates, I use memory, fieldwork, and autoethnography to articulate fluid and unsettled aspects of the colonial project. Geographer and sociologist James Overton writing about the invention and commodification of Newfoundland culture two decades ago noted Memorial University of Newfoundland’s role in the region’s “cultural revival” while researchers engaged in community development initiatives. Such revived circuits of tangible or intangible heritage were often the product of (displaced or deterritorialized) intelligentsia. Portrayed as oppositional to dominant political forces, these contemporary pirates, plundered local culture through academic theories, and reconnected local identity with settler history and knowledge. The subsequent revived constructions of place in the work of tourist-oriented theater initiatives, literature, music, or restorations of the built environment reproduce the origins of settler culture for tourist consumption. While offering class-based critiques of the economic experience of settler life, they do not often interrogate the premises, mechanisms, and consequences of settler culture. The creative research underlying this poetic inquiry allows for critical associations to be made between settler tropes, their continued performance and re-performance, and the displacement and erasure of the region’s original peoples.



中文翻译:

海盗带我去跳夹具的那一天

本文运用感官,视觉和诗意的探究方式,探索纽芬兰的海盗知识,定居者的殖民主义与具体经验之间的关系。我坐落在历史悠久的民间传说中,以藏匿海盗而闻名于世的沿海社区,我利用记忆,田野调查和民族志学来阐明殖民项目的动荡不定的方面。地理学家和社会学家詹姆斯·奥弗顿(James Overton)两年前就纽芬兰文化的发明和商品化发表文章,指出纽芬兰纪念大学在该地区“文化复兴”中的作用,而研究人员则参与了社区发展计划。这种有形或无形遗产的复兴之路通常是(被取代或被领土剥夺的)知识分子的产物。被描绘成对主要政治力量的反对,这些当代海盗通过学术理论掠夺当地文化,并将当地身份与定居者的历史和知识重新联系起来。随后恢复的面向游客的剧院计划,文学,音乐或建筑环境修复工作中的场所结构,再现了定居者文化的起源,供游客消费。在提供关于定居者生活经济经验的基于阶级的批评时,它们通常不会询问定居者文化的前提,机制和后果。这种诗意探究的基础是创造性的研究,可以在定居者的特质,它们的持续表现和再表现,以及该地区原住民的流离失所之间建立关键的联系。并将当地身份与定居者的历史和知识重新联系起来。随后恢复的面向游客的剧院计划,文学,音乐或建筑环境修复工作中的场所结构,再现了定居者文化的起源,供游客消费。在提供关于定居者生活经济经验的基于阶级的批评时,它们通常不会询问定居者文化的前提,机制和后果。这种诗意探究的基础是创造性的研究,可以在定居者的特质,其持续表现和再表现以及该地区原住民的流离失所之间建立关键的联系。并将当地身份与定居者的历史和知识重新联系起来。随后恢复的面向游客的剧院计划,文学,音乐或建筑环境修复工作中的场所结构,再现了定居者文化的起源,供游客消费。在提供关于定居者生活经济经验的基于阶级的批评时,它们通常不会询问定居者文化的前提,机制和后果。这种诗意探究的基础是创造性的研究,可以在定居者的特质,它们的持续表现和重新表现以及该地区原住民的流离失所之间建立关键的联系。音乐或建筑环境的还原再现了定居者文化的起源,供游客消费。在提供关于定居者生活的经济经验的基于阶级的批评时,它们通常不会询问定居者文化的前提,机制和后果。这种诗意探究的基础是创造性的研究,可以在定居者的特质,它们的持续表现和再表现,以及该地区原住民的流离失所之间建立关键的联系。音乐或建筑环境的修复再现了定居者文化的起源,供游客消费。在提供关于定居者生活经济经验的基于阶级的批评时,它们通常不会询问定居者文化的前提,机制和后果。这种诗意探究的基础是创造性的研究,可以在定居者的特质,它们的持续表现和再表现,以及该地区原住民的流离失所之间建立关键的联系。

更新日期:2020-12-09
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